If Crash Avenue were a motivational speaker, presenting to a room full of mid-level office clones, we would tell them that publicity is about promoting personality, not product. We would go on about how our artists and staff attack the task of artist visibility as a commitment, rather than a campaign. We would have analytics projected on a twenty foot screen illustrating how we engage online communities and train our clients to get the public to write their stories for them, not just outlet gatekeepers. Then, we would take a break for lunch consisting of turkey breast sandwiches and a TBD vegetarian option. Upon return, we’d ask around the room for examples of individual assets and we’d illustrate how we address each one of them individually instead of just plugging in information into a standard schedule release to outlets. We’d do a real-time presentation of how to narrowcast (we love using that word at conferences) to a client’s demographic using different streams, fitting each asset into that stream and getting a response from content farmers and the casual fan alike. We would demonstrate using testimonials from previous clienteles on how to mobilize their respective fan bases to gain traction and triple their visibility with simple tools they can take forward even after the contract is finished, and by the time the day was over the hoi polloi who attended this conference in some wood-paneled ballroom in Des Moines would all rise and feel satiated and motivated.
But we’re not motivational speakers.
We’re a media and management company.
And we don’t do that kind of lame shit.
Jeffrey Smith founded Crash Avenue back in 2004. He spent his childhood less than a mile away from the original Kentucky Fried Chicken. A former musician, he’s retired from the performing artist arena and his unused B.M. degree in jazz studies is now about as useless as his blow dryer. After spending his early 20s as a bandmate in his own personal VH1 Behind The Music nightmare of music industry skullduggery, he emerged on the other side of the industry vowing to be an outsider forevermore. Luckily, the gravitational pull of the music industry took hold in 2002 when he began a small indie label in Louisville that served as a slingshot into what is now beloved as Crash Avenue.
Spencer Keasey Scanlon is a Western PA-raised, Brooklyn-based music nerd, who tripped and fell into the music publicity rabbithole in 2006. Starting out as an publicity intern at Central Park SummerStage, Spencer has gone on to work all over the musical spectrum- over the past 8 years, he’s put in time at Girlie Action, Pitchfork, Universal Music Group (Republic Records/Casablanca Records), the Village Voice and more. His past clients are as diverse/awesome as his experience, having worked with Morrissey, The Cure, Santigold, Holy Ghost!, The Rapture, DFA Records, Totally Enormous Extinct Dinosaurs, Christopher Paul Stelling, Mogwai, The Weeknd, Kavinsky, James Blake, The Lonely Island and countless others. He lives a nice life in Red Hook with his ladyfriend, and their cute-ass beagle, Billie.
Paige Peterson started out as a band nerd, but has now joined us on the dark side, AKA public relations. Before moving to Louisville she was spelunking deep within the underground of Denver music scene with bands like Gangcharger and Good Housekeeping. Paige brings a certain je ne sais quoi to the PR game, f***ing loves The Fall, and she’s kickass Publicist!